Twenty Years
by FoundAgain
Summary: A series of One-Shots based on the lyrics from Augustana's Twenty Years. There will be death, destruction, life, birth, movies, Chuck, cars, Sarah, espionage, some food, and of course, Charah.
1. Chapter 1

**A/N: I loved Chuck the week. It was fanfrickentastic. They were so cute at the end! My one complaint, not enough dramatic action, because that is what I really love. Anyways, hi. This is story is a series of oneshots based on the lyrics from the song Twenty Years by Augustana. ****IMPORTANT**** this first chapter will make little sense if you haven't read chapters 8, 10, and 14 from my other story, The West Coast. But, not all chapters will follow this storyline, so if you don't get this one, come back again and try the next chapter. Yes it's confusing, but its also like an adventure! The next few chapters should be up quickly... I already have 3 written and I'm working on 2... keep an eye out.**

**Disclaimer: I don't own Chuck or Twenty Years.

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Well I've been running from something

He wakes up (again) with her gently stroking his face.

Sarah, Sarah. It's almost 2 A.M... please, can we just sleep?

She lets out a huff, and he knows that she doesn't want to sleep. She doesn't want to miss another moment with him. And he understands, he does, he has wanted this moment for so long... but he also needs his rest. And tomorrow... tomorrow might be the best day of his life.

Because tomorrow Sarah, his wife, will be officially home. She could hug their two daughters, and he could tell her how much he loved her and missed her. She could tell him what happened to her, how she got her new scars, and he could tenderly wipe the awful memories away. He wouldn't have to visit her grave anymore... the CIA has probably already removed it. He won't have to tell his girls that Mommy isn't coming home anymore. She can help him tell the story of how they met...

Chuck!

Sarah...

Chuck! Wake up. Now.

And then none of that matters anymore. She's been home for a total of four hours, but he knows the differences between Oh, Chuck, I need you, now! and If you don't wake up, we're all going to die. Being a spy for seven years will do that to a man.

She's sitting upright in their bed (No longer just his), and staring out the window. Her eyes are bright, and he figures that wherever she came from, it's definitely not two in the morning. She leaves the sheet behind as she goes to look out the window.

He's busy admiring her wife when she whispers in a low voice:

Are the girls here?

Of course the girls are here, but they're asleep. I'm sure they'd be glad to see you...

You need to get them out of here. Now.

Sarah? What

They've found me. The director promised me I was safe.. I should've followed my instincts. Damn it! Do you have guns?

Chuck is still in bed, wondering what is going on. Sarah's quickly getting dressed. Giving him occasional, expectant looks.

Chuck!

He jolts, realizing that he'd been frozen. Most likely out of shock.

Come on, I know this isn't ideal, but I need you to stay calm. Get the girls, go out back, you said the Hendersons were on vacation? Go to their house, and if you don't think you're safe there, find Casey. He still lives around here, right?

Yeah, but, Sarah, what's going on?

She sighs, and stops throwing her stuff into a tiny bag.

Look, out the window, those vans? They're equipped for surveillance. The man sitting in the passenger seat is wearing a black mask, and I saw him check his gun. I've been on the run from a group called AFRO...

And then Chuck flashed. He hadn't done it in years, and Sarah had almost forgotten about the intersect. She watched as he processed the information, probably basic stuff that she already knew.

Sarah...

I know, I know who they are, what they've done. It was my mission to bring them down, but it was too much. I've been on the run from them ever since.

I know I haven't had an update in a while, but...

Burke said they'd gone underground...

Burke's the new CIA director?

Yeah, but he said I was safe, and he must've been wrong...

Sarah. Stop. Look, I flashed, and Julius Burke was in the intersect as the man who started AFRO, originally as a group of ambassadors that worked in countries for better education. After a year, he decided to stop the education thing, but never officially disbanded AFRO. Sarah, if Burke started AFRO...

Oh God. Chuck, he knows everything about me! Where I live, my family... you _have_ to get away from here.

Then a car door slammed out front, and the couple froze. They were coming. Chuck rose from the bed and pulled Sarah tight against him. Because this was it.

I love you.

She kissed him, fiercely.

I love _you_. Nothing will stop me from coming back to you, to the girls.

She lifted her bag and left, knowing that he would take care of Emily and Anna. If not for himself, or for them, then for her.

* * *

And then she was gone and Chuck was still standing in their room. Wondering if this was all a dream. Maybe she was dead, and he'd let the stories he'd been telling Emily and Anna go to his head.

A knock on the front door confirms the reality of the situation. He throws on clothes for travel, and grabs his emergency suitcase. He runs to the girls' rooms and gently wakes them, telling them it's time for a vacation. Carrying Emily and guiding Anna, he leaves his house behind. Wondering if Sarah will make it through the night.

* * *

She lasts the night, managing to avoid both the intruders and her family as she escaped. Its two or three days later and she's at a train station, trying to find the best route to D.C.. So she can kill Burke. She carefully angles herself so that the security cameras can't see her whole face, and is sure to pay in cash for her ticket. As she boards the train, she wonders how long she'll be gone for this time. As the train moves down the track, she wonders if Chuck made it out of the house alive... if not... then perhaps it was all for nothing.

* * *

After spending a night at the Henderson's, Chuck takes the girls to Uncle Casey's. Hoping that the Colonel will help him, help Sarah.

Uncle Casey! Uncle Casey!

Whoa, slow down that Em! Rawr! Grrr! Give me a big hug!

Chuck smiles, he always knew Casey was one big teddy bear. As the girls settle down to watch cartoons, Casey gives Chuck a cup of coffee, and they sit down to talk.

So, what is it.

Sarah.

Look, Bartowski, the search is over

She found me, last night. She's not dead Casey! She's been on the run in Europe this whole time from a group called AFRO.

Casey stays still, stays silent. He wants to believe Chuck, he wants nothing more to believe that Sarah Bartowski is alive, but at the same time... he doesn't want his hopes to be dashed because Chuck had another dream...

Look, Casey, we're in trouble. She came back last night, but they found her. Some thugs hired by AFRO broke into our house, and she had to run. The man who runs AFRO, Julius Burke, is also the new director of the CIA, and she's going to try and kill him.

Oh God

I know, I need your help, I have to help her, but I can't leave the girls behind.

No, Chuck, it's too dangerous, I'll do it, you haven't flashed in years...

I flashed last night! I flashed on AFRO and the intel was good, I'm sure I could flash on kung-fu.

You're out of shape, you'll hurt yourself more than the enemy.

Casey, it's _Sarah_. She's my wife. And I thought she was dead.

Look Chuck. Look over there, those are your daughters. Sarah's daughters. And I hate to have to say this, but if you go after her, there's a chance that neither of you come back, and I don't want to be the one to tell them that Daddy isn't coming home either. That he's with Mommy now.

Casey...

I'll go Chuck, you watch your family. You tell your little girls that Mommy is coming home, and that Uncle Casey is going to help her. You got that?

Casey, how can I

Save it, Bartowski, I've gotta go pack.

* * *

**A/N: Aannd cue theme song. Sorry if this one shot seemed filler-esque. I know that it shouldn't, but I want the final chapter of this mini-series to end with a bang. Which it will in it's next chapter... also, I love Chuck. Goodnight.**


	2. Chapter 2

**A/N: I didn't think I would post this quickly, but I really really really want to put up chapter three... and before three comes two, so I pulled this one out of nowhere. Reminder: this is not related to the last chapter. It is a separate one-shot. Also, the lack of punctuation that you've probably noticed is a style. I'm not **_**that**_** stupid... Enjoy!**

**Disclaimer: I don't own Chuck or Twenty Years.

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Twenty years in my car

I was born in 2008. My parents were engineers. I starred in an ad moments after I was born, kinda like those diaper ads. The other cars on the lot like to make fun of me for it, but I know they're jealous of my "lifestyle of luxury." I didn't have many friends on the lot. They didn't understand that I was more than just a pretty face. No one did. Or at least they didn't. Until one day, instead of sitting outside in the harsh sunshine of California, I was bought.

My lease was signed and lots and lots of money was handed over, I never knew I was worth so much, but I guess it makes sense. The rumble of my engine soothed my unused parts. I roared to life, and I could tell my passenger was pleased. She put my top down, and she roared down the freeway. I'd never felt so free.

In this space, I probably would have commented on my owner's musical tastes, but she didn't seem to have any. I, personally, am more of a electric rock kinda car. But my owner didn't play anything. Not even NPR. She did, however, hum to herself whenever we pushed 90, which I always thought was the car's job. I was starting to learn that she didn't do anything the traditional way.

After our first night together, I still didn't know her name. I learned a couple other things, though. First of all, she enjoyed dressing up as a ninja. Second, she had a dirty mouth. Third, she's living in a hotel. Three things, all were weird.

Our first real day together, I learned that she worked at a Wienerlicious. Which begs the question, how did she afford me? I also learned that she was beautiful, by human standards, of course. I felt honored to be driven by such a woman... as long as she doesn't get any hot dog grease on the interior.

By the end of the first week... I don't know. I kinda started to lose interest, as everyone does over time. I was all like: yeah, cool! New owner, new places! But eventually the new places became the same old same old. Her name was Sarah, a curly headed man called her that. She is a CIA agent, which I guess gives her permission to drive fast. The curly headed man's name is Chuck, and he's fairly good looking by human standards, but still way out of her league.

Sounds interesting, right? Well, yeah sure, except all she does is drive from her hotel to the greasy hot dog store to the apartment complex, where sometimes she would visit the curly headed man and sometimes she would visit the man-bear. The man-bear intrigued me for awhile, mostly because he took such good care of his Crowned Victoria. I'm a Porsche! I deserve that treatment! But does Sarah ever wax me with such loving care? No, no she doesn't. She parks me in a hotel parking structure with rental vehicles. None of them even stay long enough for me to make friends. Boring.

I don't know. She doesn't ever drive me that much. I mostly sit there. Sometimes she gets picked up by that curlier haired guy. Sometimes she walks. I guess gas is expensive these days... or something. When she does drive me, she is usually alone. Silent.

And then one day, she gets in and pops in a CD. It's new, its refreshing, and it doesn't seem like she knows any of the songs. But this one song, after listening to it halfway, she starts it over again. I think she's learning. Or something.

* * *

Now she works at the Orange Orange. It's in the same spot as the Wienerlicious, and no one else seems to think it weird that the little hot dog store vanished. It's fine by me, I didn't really like the Bavarian outfit... it made her look like a fool. I don't understand why people thought that greasy, burnt, hot dogs wrapped in dough were attractive. News-flash: they aren't. But I'll never understand humans.

One breezy day, she takes me for a ride. I'm a little worried that she's paying like... no attention to the road whatsoever, but she plays that song again, and a tear falls down her face. I guess her life is a bit more interesting than what I'm privy to, but when the computer she kept looking at beeps, I can tell that things are about to get more interesting on my end. She practically pulls a U-turn on the middle of the freeway, and presses hard on the accelerator. Now _this_ is the owner I know and love.

She drives to the place where curly boy and man-bear live and exits... me... with an envelope in hand. She comes back at a full sprint, holding what looks like a phone, and we zip on over to the Orange Orange. She leaves me there and enters an ugly black van with man-bear and a scary looking woman. Possibly an evil droid...

Anyway, they return, and at some point curly-boy must have joined them. She and the curly haired guy get into.. me, and drive off. But not towards home. I can barely hear them over the roar of my engine, but it sounds like she's saying something about Chuck (who I have just remembered, is the curly haired man), Dad, Ellie, Wedding, and Awesome. I'm not a genius here, but I'm just gonna guess: Chuck's Dad is going to marry Ellie, and the wedding will be awesome.

After traveling on an uncomfortable dirt path (it seriously wasn't even a road) we stop at a trailer. In the middle of nowhere. I hope they know where the nearest gas station is.

Curly-boy (Chuck) and my owner (Sarah) go toward the trailer. They talk, curly-boy knocks, my owner comforts him... and the door opens. But I'm still stuck on the whole comforting part. Her hand was on his neck, he was looking off into the distance, but she was looking right at him. How did I not see this before?

They exit the trailer eventually with another man in tow. Presumably Ellie's future husband. The drive home is silent, but I can't help but notice the looks that my Sarah is giving her Chuck. And I don't like it.

* * *

While I'm stuck in the parking structure for the next week or two, I do some serious thinking. It boils down to this: man-bear loves his crown vic with all his heart, and he seems single. I haven't seen any lady friends on his side of the apartment complex. My owner, my Sarah, doesn't have time to love me because she is in love with Chuck, the curly haired man. I'm a Porsche, I practically scream look at me! and she looks at him. All friggin day long.

It's possibly three weeks later when she comes to the structure, and then drives me to one of those cheap storage facilities. Great. Looks like she's planning on heading to the airport straight after dropping me off. Before she exits the storage unit, leaving me in darkness for the rest of eternity, she turns around and pats my hood.

I know this sounds bad, but I actually hope I don't have to see you again.

She kisses my hood, and I relish in her love for a second, but the the garage door is closed and it's dark. I'm going to rot here, wondering what she meant by hoping that she doesn't see me again.

* * *

Except I don't have to wonder. She's back in four days. Not even a full week. She opens the door, and I'm in shock. She's wearing sweats, making me realize that she always looked so... perfect, before. But now there are bags under her eyes and she looks... sad. Truly sad. She plays that one song she likes and drives slowly over the rolling hills of Southern California.

We spend a lot of time together after that. We drive random places that we never went before, the grocery store, the post office, and occasionally a shooting range (don't ask me what she was doing there). It's nice.

But then a month passes, and she's angry again. Angry beyond words. Her foot is lead on the gas and we get pulled over four times on the freeway. Every time she flashes her shiny CIA badge, and we take off, free of charge. I really want to know how one qualifies for these badges, in case any future owners have the need for speed.

And then outside the Orange Orange I see Chuck. His curly hair is everywhere, including his face, and he's wearing a nasty robe and hat, but I can tell it's him. I realize I hadn't seen him this entire lovely month, and that he must have been the reason my Sarah was so angry.

And possibly why she left.

* * *

So it goes back to how it was. I live in a gross parking structure, my Sarah off doing God knows what, and getting there God knows how.

I see a new man occasionally enter the hotel, my new parking sport has a great vantage point. I'm not worried about him though. He may look like superman, but she doesn't look at him like she looked at Chuck. I still only have one competitor.

One time she shows me to superman, and he tries to get into the driver seat. That was a mistake, and she let him know it. If I had a heart, it would have soared. Instead, my engine got a warm and fuzzy feeling, and I felt happy. No one touches me except Sarah.

When we do drive, she never listens to music any more. She did try this one CD, but it had weird interpretive techno-rock-alternative-classical-jazz music, and she threw it out the window.

* * *

Maybe a few weeks later, I see Chuck again. He literally runs into the garage, looking for _me_. He checks me over, and then makes a call.

Casey! Casey! She isn't here, what do I do?

No, no her car is here.

I can't call Beckman! She told me I was on my own for this one!

Look, I know you're through, but please! It's Sarah! Shaw is going to... I don't know. I just don't know, and I have to find them before he can do anything...

All right. I'll see you at the Buy-More.

He hangs up and takes off. I really want to know what's going on. Where's my Sarah?

* * *

I'm still not quite so sure what curly-Chuck was so worried about, because I can see Sarah entering her hotel with superman in town later that afternoon.

But then she leaves with a suitcase, and doesn't even say goodbye this time.

She doesn't come back for a while. I see man-bear enter the hotel once, but he leaves quickly after. I hope she comes back.

Then she does return. She drives me over to curly-Chuck's, and they pile in and drive to a nice park. They have a picnic.

She drives back to curly-Chuck's apartment. And then doesn't leave until the next morning.

Where ever those two went (along with superman, where did he go?), something big happened. And now... it's like they both love each other. Or something.

And then I'm parked outside curly-Chuck's every day, and every night. And it's nice. Much nicer than the parking garage, at least. I can see the night sky, and whatever stars the city lights will permit me to see.

It's fantastic really, until curly-Chuck and my Sarah (leaving behind an upset, odd bearded man that I've never really seen before) move to a suburb. I am not a suburb car. Suburbs are for mini-vans and compact cars. Not gas-guzzling sport luxury vehicles. Like myself.

Of course, I shouldn't have complained. Next thing I know, curly-Chuck drives home a nice mid-size SUV. And I was just starting to like him too...

All these changes are happening so fast... and I'm not sure what to think, until one day...

* * *

I'm a Porsche, so I don't have a back seat. Sarah sits behind the wheel, and Chuck rides shot-gun, cradling what looks like bread.

Drive safely...

I will, Chuck. Come, on you know me!

Yes, I do know you. Our little one here does not need to see your CIA-certified driving skills quite yet. Or ever, really.

And then they kiss, which was a lot more disgusting than what I thought it would be. But, when they kiss, I can see what curly-Chuck is holding. It's a small human. A very small one, and it cries a lot on our drive, but I can' help but fall in love with it. It's just so... perfect.

They get out at the one park we drove too, maybe a couple years ago, and the small human takes a nap in curly-Chuck's seat. My Sarah and curly-Chuck stand outside the car, he presses her against my hood, and I feel sort of uncomfortable.

My Sarah turns her attention away from Chuck and brushes some dirt off my hood. He laughs.

You know, sometimes I think you love that car more than me.

She laughs in return, and my curiosity is piqued. Curly-Chuck competes for my Sarah with me?

No, no. Come on Chuck! I love you both equally, you should know that!

And then she kisses him (ew, gross), but she continues to caress my hood. I feel the warmth of the small human on my passenger seat, and the heat of the two bodies against my hood, and it's like a hug. Like I'm apart of Sarah's family. With her Chuck and her small human and me. Her car.

A little bit of wiper fluid trails down my lights, but I ignore it. I may be luxurious, but just like everyone (and everything) else, I just want to be loved.


	3. Chapter 3

**A/N: So I love this chapter. I wrote it awhile ago, and I hope you enjoy it as much as I did writing it. =) The next update will be for awhile... I haven't even thought about the next chapter yet, but I'm pretty sure it will be a continuation of chapter one. **

**Disclaimer: I don't own Chuck or Twenty Years.

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Down a road that's leading me nowhere

If life were a movie, wouldn't it be too short? The scenes would be set, the producers only willing to pay so much. When the credits roll, the characters die. That odd universal symbol at the end of the black screen is the minister saying, and they will remain forever in our hearts.

Life _is_ a movie, and they're only actors. Playing their role, listening to the director. In some cases, the General, wondering when the final twist will come. Will their movie win any awards? Will the audience remember them as they drive home from the theater?

Chuck! Snap out of it!

He flicks his head toward Sarah, forcing his wavering thoughts to the present, very very current, situation.

We have to get out of here, you understand?

He nods his head, pretending that he can hear the words coming out of her mouth. The surround sound wasn't really that great in the large aircraft hanger they were in, but the shock from having a gun go off literally right next to his ear wasn't helping his cause. Adrenaline fuels his body as he watches Sarah, his handler, stand from behind their safe cover, guns blazing. Bullets whiz by, and an explosion... explodes... beyond her. Beautiful, really. He's afraid for her of course, as any onlooker should be, and yet, at the same time, he knows that she'll be o.k., because this movie's just started. The heroine can't die until the final scene.

* * *

It's a movie, so of course there's a romantic story line. Sometimes it's the main plot, sometimes it's a little emotional something something to create tension, fill space. Sometimes it's the undercurrent that motivates all characters. All you need is love. Love is all you need.

But Chuck finds himself wondering when that story line is gonna kick in. He lies in his bed, alone, every night. He's aware that he's being watched. Casey can't help it, it's his job. He sees the empty space on the other side of his nice big bed and wonders when she'll come in fill it. He wonders what she's waiting for. Cause right now the tension is getting a bit old, and he's tired of fighting her over it. Chuck wants Sarah. It's always been as simple as that. Whoever wrote this script sucks.

This is a spy movie, so of course there's action. There's guns and kung-fu, and even a little bit of unrealistic futuristic technology. So when the intersect gets an upgrade, Chuck finds he likes this plot twist. Suddenly he isn't the damsel in distress. Suddenly he isn't useless, worthless. In fact, he's practically worthy.

In this scene they're sneaking through air vents. He's finally caught onto the logistics of vent crawling, and is currently checking out Sarah's ass, which is inappropriate and against his nature. But he's a guy, and he figures its what Bryce would do. And Sarah did date/have sex with Bryce. Casey, in lead, signals for silence, and stops moving. Chuck hears the movement below them, maybe three, or four men. They have guns, and are speaking in low voices.

Security shows that they're right here...

Shh... they _are_ right here, don't let them know we found 'em.

They aren't here.

They're here! Shut up!

Wait... I think I heard something... safeties off, shoot to kill.

Up in the vent, Sarah turned her head and was giving Chuck a look. It was daring him to follow her. And he would follow her anywhere. When Casey sees the little smirks they're giving each other, he starts to shout a no!, but then they're gone.

One well placed kick with his toe sent Chuck flying down on top of the guards. He flashed mid-air and started scissor kicking and karate chopping left and right. He downs three men, and thinks that Sarah should have the other one under control, until he notices that he had counted wrong. Four other men are on the floor, along with his three, and Sarah is currently dealing with two other guys.

Then Casey falls through the ceiling, gun blazing. He drops the two guys, and Sarah gives him a thankful smile.

Idiots. Now how are we supposed to get into the vault the regular way?

Oh. Right.

But Sarah doesn't seem to care that she just ruined the mission. She continues down the hallway, in the direction of the vault.

Sarah? Should we uh.. you know bodies?

She's halfway down the hall, stops, and shrugs. A guy runs out from behind her, shouting and waving a gun. The Radio chatter is indistinct, and Chuck's heart drops.

He regrets looking at her... in that way.. earlier. He regrets treating her as he has, it wasn't in the script. He's let this new intersect change him. She's right. He isn't that guy anymore. In his mind he's screaming her name. In the real world, he's standing next to Casey silently. In shock.

But she's Sarah Walker. And this is only the middle of the movie. She heard the footsteps coming, the radio shouting, intruders! Level six! So she turns back to her team, shrugs at Chuck's questions, and throws a knife into the center of the guard's forehead.

Chuck finds the will to shout her name, and runs the length the hall to get to her. His hands are everywhere, kind of. He holds her arms, her face, he eyes her all over.

Sarah? Sarah, oh my gosh, are you okay? You're o.k. Yeah, you're alright. Right. That guy, he came out of nowhere, and God, that was close! Huh? Right? Yeah. Casey? Everything's good here!

But Casey is already handing Sarah back her knife, and she's wiping the blood and bits of brain matter on the sleeve of the dead man. She gives Chuck a look. Of course she's o.k. Why's he so worried?

Come on moron, we still need to break the security on the safe... should've known we'd need the C-4.

All Chuck can think of is that he doesn't deserve her. He wonder what possessed the writers to make him give her up in Prague... maybe, maybe it was really her gave him up? And he just didn't understand the characters in the scene... no. That was pushing it. This movie's gonna bomb at the box office.

* * *

So the romantic plot line folds out, she does love him (even if she has trouble saying it) and he loves her. They kiss, they go to Paris (but only because the antagonist was trying to kill her) and they run away from their jobs. In hindsight, that part was kind of unnecessary, but he doesn't regret it. Not for one second. Now when she looks at him he knows that she loves him, and when he looks at her, he's afraid that she knows he's lying.

He hates lying, and he doesn't quite understand why it had to be written in, this plot is long and winding enough as it is, but he lies. Maybe it's because he's afraid? But afraid of what? Because, seriously, he's been afraid since the opening credits. Not to sound weird, but it was cuter when he babbled nervously. Now he lies without hesitation. Of course, he's been lying since the start, but maybe it's time to come clean. To everyone.

Chuck? Whatcha thinking about?

Oh... nothing

_lie_

Oh, um. Alright. You want something to drink?

Sometimes he knows she knows. And it's killing her, but she doesn't know how to approach it. She used to be able to scare him, to force him to tell her the truth, but now he's the intersect 2.0, and he can defend himself. Now he's her boyfriend, and she doesn't do relationships real well. Is lying normal?

No, I'm good.

She pours herself some water, and stays in the kitchen. They've been strained for awhile now.

Chuck?

Yeah?

Why do you love me?

She continues to stay in the kitchen. Maybe she's distancing herself from him. She's distancing herself from the answer. And he thinks that that answer will just roll off his tongue. That he's loved her forever because

I love you.

Yeah, but why Chuck? What's so great about me? Why, why are you with me?

Well, why are you with me?

Don't turn this around! I think I know why I'm with you, but lately I'm not so sure. Are you sure!

Of course I'm sure! I've always loved you, since the start!

But _why_.

Maybe this is their first fight (but it's not), maybe she's right (she kinda is), maybe he only loves her because he's supposed to. It's what everyone expects.

I... I'm not sure.

She nods, as if to herself. She puts the glass down and grabs her purse.

Wait, where are you going?

Chuck, look, I love you. A version of you, I guess. And I'm pretty sure that guy loves me, but you aren't him right now. You lie to me, to your sister, to Awesome, Morgan, even Casey, everyday, you... you've lost yourself. This version of you.. it doesn't love me, and I'm not sure I love it. So, I still have that room at the hotel, and I'll stay there, for now. Yeah. Um... bye.

And she's out the door and he's alone, still sitting on the couch. And the funny thing is, he doesn't notice a difference. Like maybe, she's been gone for longer than just those two seconds. How long ago did he lose her?

* * *

So now it's that moment for some introspective thinking. The sad musical montage plays and the audience watches the character deal with his depression. Hopefully he makes some realizations.

* * *

They're still a team, and we're probably three-quarters of the way through the movie. They broke up, but it doesn't mess up the dynamic. Too much. She still kicks ass, and he still flashes. That's all we're watching for anyways, right?

Except she misses him, she misses his goofy smiles and his eloquent speeches. She misses his curly hair and his deep kisses.

Except, he misses himself (yes, it's fairly self-centered). He misses the guy that would play COD with Morgan all night. He misses remembering what Sarah liked on her pizza (now he can flash on it, if he really has too). He misses screwing up and being called an idiot by Casey (but only a little bit), and he misses his family. Awesome moved himself far from Chuck's life. To protect his wife. Chuck wishes he had the stones to protect his own family.

He just doesn't know how to fix it, and it's almost time for the movie to end.

* * *

He walks down to Castle after another successful mission, and finds that he misses the old place. The new Castle is too... bright. And it kinda looks like an old Ring base. She's down there, and they greet each other, as if he doesn't know every intimate detail about her.

She walks out of Castle thinking that she loves Chuck because he showed her that she's lovable. He showed her what it meant to be _good_.

He looks for Casey, wanting the Colonel to approve of his report on the mission, and to make sure they both have the same cover story for what happened between 13:09 and 13:18. But Casey isn't at his desk. But a piece of paper is. And Chuck is nosy, so he reads the piece of paper.

It's a character profile of one Charles I. Bartowski. It has his dopey Buy-More picture, and it dates to four years ago. Before the CIA entered his life. He sees that he was a nobody, a college drop-out working an unrewarding job. He hadn't been on a date in five years (yes, that was actually in the report) and he was still hung up on his ex-girlfriend.

And he realizes that he isn't that guy anymore. He's _somebody_, he's the most sought after intelligence asset in the world. He got his degree from Stanford (thanks to Sarah), and he no longer loves Jill. He loves someone else because she showed him that he wasn't a loser at the Buy More. She showed him he was Chuck Bartowski, that he was smart enough and good enough on. his. own (without the intersect) to be the best. And he _loved_ her for that.

But he forgot, he forgot that she saw who he really was, beneath the 2.0 and the spy training. He'd pushed himself to be the best because she told him he could be... but maybe she wasn't telling him that he could be... she was telling him that he already was. She _believed_ in him.

He'd fallen out of character.

* * *

They have a mission that night, Beckman briefs them on an international... pianist. And of course, Chuck flashes. The pianist had taken up composing, and was inserting coded... codes into his pieces. The codes were used to hack into government servers. They were going to a fancy party the pianist way playing at, and they were going to capture him. Simple, simple.

Except Chuck knows that they're nearing the end, and he isn't sure that simple, simple, is the best way to describe it. Perhaps a 'be careful' would be more called for.

As the team spreads out to start to prepare for the mission, Chuck grabs Sarah's arm, because he needs to tell her that he found himself, that he loves her because

Chuck, not now. We have to get ready.

No, Sarah, this is important.

And she knows it is, she hasn't seen him act like this since scene six, but she isn't ready for this yet. She knows that he thinks he's changed, but she hasn't noticed a difference. She needs to focus on the mission.

After.

But...

After, okay? We finish this simple mission, and then we can talk.

As if he didn't have enough reason to make it out of this one alive.

But then they're still standing there. He's holding on to her forearm, and she's commanding him to let her go, with her eyes. His own are daring her to pull away. Neither moves.

Walker!

And then the moment is broken, and she heads over to Casey, and he consults her on his weapon choice. But the whole time she's thinking that when the mission's over, she will finally feel alive again.

* * *

It's the final scene, it has to be. They entered the party as a couple, Casey as third wheel. They talked to the pianist between songs, and he became suspicious. And now they've lost Sarah. Casey took the third floor, Chuck is on the second. He's panicking, running down every hall. He resists shouting her name, so as not to spook the pianist (who had suddenly turned quite evil in the space of a few seconds). But then he turns a corner, and there they are. Chuck whispers into his watch, letting Casey know that he found her. That she's still alive.

He's facing them, and the pianist has her in a hold, protecting his body with hers, a gun to her head. Chuck holds his gun steady and aims it at them. From this distance, he could never make the shot. The intersect isn't flashing, maybe out of fear, maybe out of stupidity. Mostly because he's just forgetting to flash.

Stay back!

Don't move.

Chuck...

Stay back!

I said, don't move! Stay where you are! You're surrounded!

Um, no, I'm not. You don't want me to shoot your girlfriend here, do you?

No. No he doesn't. He wants to kill this bastard for touching Sarah, and then he wants to tell her that he loves her because

The crack of the gun splits the air. A bullet whistles from the pianist's gun through Chuck's skin, and the impact leaves him breathless. He lets out a gasp of surprise. The bad guy never shoots, even though it's obvious that he should... unless... unless this is the end.

Chuck falls to his knees, the shock of the wound apparent on his face. He can't believe that he was _shot_. And it hurts. It hurts a lot. Sarah, Sarah must have screamed his name because the pianist is telling her to shut up because Chuck is still alive, and is still holding onto his gun.

The flash almost overpowers him, and he swears he hears Sarah yelling for him to Stop. No, Chuck. You'll be fine, stay down. Please. Please. But he can't. He staggers to his feet, one hand covering the bullet hole in his chest, the other pointing the wavering gun. Suddenly flushed with the knowledge of... strength.

Don't you move.

Don't make you shoot you again!

You're under... arrest...

Chuck coughs blood, and sees that his shirt has been soaked through. The elevator sounds, letting them all know that John Casey, the Calvary has arrived. It's only moments until he turns the corner and finds them.

Chuck, stop! Put your gun down!

Yeah, listen to your girlfriend, maybe I'll let _her_ live.

She tries to struggle with the pianist, but he's surprisingly strong.

Chuck starts to walk toward the pianist, gun out in front.

Stop! Stop walking!

Sarah... I.. I have to... tell.. you..

The pianist is screeching, he's afraid of Chuck. Afraid of guns, babbles when he's nervous, working at a Buy More, Chuck. He coughs more blood and staggers forward. The crack of the gun splits the air. Again.

Chuck doesn't fall right away, he stands there, confused. Why did it hurt again? Why? Why's she crying? And that screaming... where's it.. where's

Sarah... because...

No... Chuck, no. Please! Let me go, can't you see he's dying!

Of course he dying, I shot him. Twice!

Because... you... believed.. in

Shut up!

Chuck falls to his knees, again, and his arms are unsure. Which wound should he cover? His breathing is shallow, and blood is filtering into his lungs. He coughs more and hears Casey's footsteps round the corner.

Freeze! Put down your weapon!

He gives Sarah one last sideways glance. He removes his hands, and looks down at his bleeding chest. Why is this happening?

Sarah... I love you because... you believed... in.. who I... was. Before... all this...

He lays himself down and closes his eyes, glad that they had their talk. He hears more gunfire, but notices that none of it pierces his body. That's nice. He didn't like being shot. He thinks that this movie wasn't so bad after all. He's glad he was wrong, that the heroine didn't die in the end. He knows because he can tell she's hovering over him, shaking him, begging him. She's alive. But it's okay, it's okay Sarah. It's all a movie, and the hero dies in this one.


	4. Chapter 4

A/N: I know, I know, it's been like three months or something. I seriously don't know how long it's been, it's been awhile. I struggled with the inspiration to write this chapter, I just couldn't get it to be as... awesome? passionate? heartbreaking? heartwarming? as I truly wanted it to be. I hope you enjoy it. And, oh yeah, uh... the timeline is a little interesting. Can you figure it all out?

P.S.: i'm considering giving up my quotation mark policy? Do you have an opinion?

Disclaimer: Chuck belongs to NBC, not me.

* * *

Yeah we drive through the farmland

Now, how does this story end?

This is one of those with happy endings. Hugs and tears (but the good kind) and kisses and beards. It rhymes. This is one of those where you walk away and forget about what happened. Don't think about it twice, everything was alright. This is one of those where the ending doesn't matter, it's been coming for a long time. This is one of those where that boring middle part is what matters most. Blink and you'll miss it.

She walks through the front door, the burden gone. She sees her two children, and tears come quickly to her eyes. They cry out, in joy, at her sight. _Mommy's home_. They wrap their small arms around her knees, and she bends down to give them the hug she's wanted since she left. A few tears escape as she holds them in her arms, safely. She wipes her eyes on her sleeve.

Her husband stands beyond her children, and he's happy to see her too. She can see the pain in his eyes, pain from missing her, pain from the knowledge of what she went through. He slowly approaches her, and when she's done hugging her girls, he kisses her. It's slow, it's soft. It's sad, but not because he's upset, but because he's missed her for so long. Because of what her absence had put them through. All of them.

Are you... are you really here?

I'm here. And I'm _never_ leaving you again.

The End.

* * *

Once upon a time there was a beautiful CIA agent. Her name was Sarah Walker. She married Charles Bartowski, she loved him with all her heart. She went on a mission, and they told Chuck that she wasn't coming back. And then she did, only to leave soon after.

Once upon a time, Chuck and Sarah Bartowski had two little girls, perfect little girls. Sarah and Chuck didn't know it was possible to love another human being more than they loved each other, but when their children were born, they decided that they most definitely did.

Once upon a time, Sarah Bartowski had to leave Chuck to kill a man. And all Chuck could do was hope that she would come back. So he sent reinforcements.

Casey used some fairly high-tech satellites to get a fix on Walker's car, traveling through Nebraska at warp speed. He doesn't blame her, Nebraska is boring. He's almost an hour behind her, and gaining. Which means he's practically breaking the land speed record. In a Crown Vic, of course. He plans on catching her when she crosses into Illinois. He isn't sure what will happen after that, but he's pretty certain that it's going to get them both killed.

If Bartowski's intel is right, then he and Walker are heading into a death trap. Burke could track Walker as easily, if not easier, as he could, which meant that Burke was going to have time to prepare a small army to welcome them.

Unless Walker had a plan to get Burke alone, they were all screwed.

* * *

At first the image on the screen only displayed the gun, smoking. There was little noise, other than the thwip of the silencer and the thunk of the impact. The scene had played out in slow motion - the gun moving up and down as the shooter took a breath, the bright flash of the gun as the bullet ricocheted toward the target, the pan of the camera as it moved toward the body.

She didn't react at first, wanting to believe it was fake, that Burke had lied. That her family was still safe. But as the camera revealed the small body, slumped over in the chair, she screamed. Horrified gasps of air, tears falling from her cheeks.

_What have you done_!

He rattles on, justifying himself. He doesn't turn the small tv off. The image doesn't fade. Just a small body with a little black hole, red red blood flowing onto the off-putting white floor.

What have you done, my girl, my little girl, you _fucking_ _monster_

She pulls at the ropes that have her fastened to the chair, but that only irritates the long cuts on her wrists from her previous attempts. She's screaming no, she's begging God, she's weeping loudly.

Casey sits behind her, unable to see that tape that Burke had played. Unable to see Walker, unable to kill Burke.

Burke leaves the room, the tv stays on. It's the only thing she can see in the room. She keeps pulling herself toward it, to do what she doesn't know, but the ropes keeps pulling her back. Blood flows from her wrists and ankles, tears trickle down her face. Her heart is breaking.

Casey...

Casey, please, please get out of here. You... you can... use the chair next time that bastard comes in. I saw... I saw a knife on his belt... you can get out of here. Find... find Chuck, help him, please Casey.

He knows what she's talking about. He could easily stand and hop over to Burke, using Walker's chair, tied to his, to knock the man out. Walker would function as his body armor. Casey would be the only one to walk away.

No. We're both getting out of here. You still have a family Sarah, don't give up on them.

She takes a deep breath, pulling it all back in. Sucking in the pain, the hurt. She exhales. He can practically hear her unspoken rebuttal:

_Not for much longer.

* * *

_

Eventually Chuck and the girls return home. They stayed at Casey's for the first few days, Chuck hoping that the mission would be over with quickly. But it wasn't, and the girls were starting to ask questions. His answer was no answer at all. His solution was to remove the source of their questioning.

And everything seemed to return to normal. The girls didn't seem to notice that Daddy looked out the window more than usual, and they didn't think it was odd when he installed a surveillance system around the house. They didn't ask questions when Emily found a large knife in his bedside table, and they didn't seem to mind the new dead-bolt on the front door.

Chuck knew that Sarah was going to take care of everything, that she would come home and the CIA would never bother his family again, but there was still that feeling. That 'what if.' What if he was crazy, what if Sarah was still dead, and he'd imagined the whole encounter? What if Sarah didn't... what if AFRO came after his family, using him as a weapon against his wife?

* * *

She threw up into the toilet inside some seedy hotel in who knows where at some ungodly hour in the morning. Her retching woke Casey up, and he held her hair up while she finished.

Are you sure you're okay Walker? We don't have to go after Burke right away, we just escaped.

I can't escape unless he's dead Casey. We have to finish this.

We can't finish this if you're this sick.

Don't worry about me.

She ended the conversation by placing a cheap toothbrush inside her mouth. He returned to bed, but not before completing a quick security scan. They'd been after Burke for almost a month now, but that didn't mean that security should be lax. Casey and Sarah had learned their lesson after being taken inside a CIA office building, right in front of many fellow agents.

Sarah returned to her bed and turned on the cheap television. After struggling to receive a signal, the broadcast showed a press conference. Burke was on the screen answering questions. The conference was located in Colorado, where the CIA had just shut down a large branch of some terrorist group. Burke was in Colorado.

Casey...

Never unpacked, you ready?

Let's go.

* * *

Even though she'd been asleep at the time, the transition from farmland to city was obvious, simply in the way the air felt. Heavier. The stars gave way to street lamps and the cool country air transformed to smog. Every breath was a little deeper, every thought a little clearer. She was getting close. It was time to forget failure, to forget the possibilities. It was time to remember who she was, and what she could do to anyone who threatened that.

When she got off the train, she was shocked to see John Casey waiting for her.

What are you doing here?

You know, it would have been faster to drive the whole way, instead of ditching the car in Chicago.

I thought I was being tailed... I'm guessing that was you.

He grunts. She realizes Chuck must have told Casey that she was back, and on the hunt for the CIA director. She smiles at her old partner. He picks up her bag and heads off in the direction of the Vic.

Come on, I already have a hotel room. Burke is out of office until tomorrow, you're just in time.

I don't know what I'd do without you Casey.

He smirks at her, because he knows she'd probably be just fine.

They didn't have much of a plan. Sarah sauntered into the CIA office building, nodding to a secretary she'd met once. Casey followed closely behind her. As agents, they were well respected. Sarah more so than Casey, being that he was only NSA. They found their way to Burke's office. They were going to kill him, and then run like hell to get out alive.

Except they didn't get that far. Sarah could see Burke watching, smirking, as she approached his office. She only had eyes for him. Agents swarmed in from everywhere. Casey maybe took out one or two before he was subdued. Sarah went almost quietly. They pressed her up against the glass of Burke's office before she could react, so she ignored them. Knowing it was already to late. She pressed her forehead to the glass and met Burke eye to eye, and as she was pulled away, she made Burke a promise through the barrier between them.

I'm going to kill you.

* * *

With Walker, and Casey as an added bonus, in custody, Burke found that he could finally relax. He knows, in the back of his mind, that he should have just killed them right off. He needed her to stay silent about AFRO, and killing her would be the best way to do it... but he kind of wants to put her through hell just for the fun of it. Teach the bitch to mind her place.

He phone vibrates, and he reads the message.

Target has moved again, won't have hostages by deadline. X

Dammit!

He slams his desk with his palms, causing the office workers around him to reach for their guns. He ignores them. These CIA pricks wouldn't be able to stop him if he decided to rampage anyway. Without hostages, torturing Walker won't be as much fun... unless... he grabs his phone.

Then find a fucking double. Idiot.

* * *

For reasons Casey doesn't know, a guard comes into the room. Unarmed. He prepares his growly face, but the guard only bends down to speak to Walker. He whispers in her ear, and Casey hopes the bastard knows that making threats will only get him killed. Eventually.

Except Walker nods, and mumbles thank you. She's still crying softly from whatever she witnessed on the tape. Casey feels the ropes on his wrists being cut, and soon enough his hands are free. Before he can even move, Walker speaks.

Don't, Casey. Let's just get out of here.

Chuck's paranoia paid off. He noticed the van that began to drive by everyday. Black, no windows. He began to worry when it parked outside the home for hours at a time. So he made the girls pack their suitcases, time to take a vacation. He promised everything and anything. Disneyland? Sure, why not. The Beach? Pack your bathing suit. Middle of nowhere Mississippi? Let's go. It took half an hour. He waited for the van to leave, buckled the girls in the car, and drove until his eyes refused to stay open.

They stayed at a motel, he paid in cash. After crashing for twenty minutes (he awoke to find the girls watching cartoons... while jumping on him) he sat in a chair by the window, carefully studying every car that passed by for the rest of the night.

* * *

On the quick drive to Colorado, the stopped at almost every gas station they saw, Sarah insisted.

Walker, this is the sixth time, I don't think it will be any different.

It's Bartowski, Casey. I'm a married woman.

Speaking of, when's the last time you and your husband... saw... each other?

The night I came back.

Well... as scarring as that image is, the timing sounds about right.

Shut up Casey.

Sarah shook the small stick in her hand before throwing it in the trash. Casey gave an amused grunt.

I am _not_ pregnant.

Well, _Bartowski_, just because you say it doesn't mean it's true.

* * *

The ride to the seventh floor is silent, save for the soft elevator music playing.

Casey thought of home. Or rather, what it had become in his absence. For all he knew, everything he cared about in Burbank was gone. For all he knew, everything he cared about (although he'd never admit it) was in this elevator right now.

Sarah thought of her family. Or lack there of it. She thought of the lonely nights and long days ahead. She thought of what it would feel like to kill the man that had put a bullet through her daughter.

The doors opened.

The floor seems deserted, the distant sound of a keyboard says it isn't so. The lights are dim, and they make no move to alter it. Casey and Sarah walk boldly through the office, guns at the ready, daring anyone to stop them now.

A wave of nausea passes over Sarah, but she fights it down. No time for that. She knows now that it isn't the nerves. She's pregnant. Pregnant with Chuck's child, a child that may never see it's father. A child that may not even live to the end of this night.

With a violent shake of her head, the thoughts vanish to some place far far away; deep in her heart. The building here, in Colorado, is identical to the one in D.C.. The CIA isn't one for creativity. She continues the familiar walk to Burke's office, thinking of the last time she made the trip. Pressed up against the glass by the company that had betrayed her, making the silent vow to return.

Burke doesn't notice them until it's too late, he reaches for his desk drawer when they burst in, but a simple glare from Casey stops his hand. Sarah watches his eyes as he realizes his situation. As he realizes that this. is. it. No more running, no more hiding. He's lost.

She watches the panic, he tries to think of something, something that will get him out of this:

Agent Walker, Sarah, look, you know I didn't want you by yourself for all those months, it wasn't my fault... it was AFRO's!

She presses the safety. The familiar click silences his protest.

The thing is, Burke, you are AFRO. And you killed my daughter.

She almost wishes that she hadn't screwed on the silencer. Such a defining moment in her life should go with a bang. Casey stuffs his gun into his jeans and grunts. Sarah doesn't bother taking the time to decipher it. She's too busy with her own thoughts: That was it. What she'd wanted for so long now, but the moment feels empty. She knows that her own personal threat is gone, but so is her family. For all she knows, Chuck is... Chuck is gone. They just ran out of time to show her that tape. Her hand travels unconsciously to her stomach. A grotesque gurgle from the floor interrupts her thoughts.

Please... please... I didn't...

Sarah walks around the desk, Casey swiftly pulls out his gun. She nudges Burke, who appears to still be breathing, with her toe.

I didn't kill... her... we... couldn't find... couldn't find... please. Help...

He started to choke on the blood rising in his throat, he coughed and Sarah felt the warm spray of blood on her face.

Issnot... serious... please... your daughter... is... still alive. Please...

She stared at the body in front of her in disgust. In loathing. In absolute complete revulsion. With another unsatisfactory thwip, his begging stopped.

Well, Walker, let's get you home.

She doesn't move from her position; standing over Burke's useless body. Casey can see her eyes shut slowly, he can see her take a deep breath. He sees her shoulders straighten out, he watches her tenderly rest her hand against her flat, for now, abdomen. He catches a glimpse of a smile he never thought he'd see again. She speaks, with her eyes still closed and her hand resting on her stomach, clearly:

It's Bartowski.

The leave the building in silence, making their way back for the happy ending.


End file.
